Susan is in Latvia. Sadie is in New Mexico. Beckett is in Ireland. All three are alone; all three are haunted by their grandparents; all three hear the Big Bad Wolf scratching at the door. This world premiere musical from Dave Malloy brings three strangers together for a post-pandemic open mic night parable about magic, madness, and the end of the world.
For many, it will be enough compensation that Malloy’s music remains as hypnotic and embracing as ever, performed faultlessly by the cast (especially Seibert) and a busy quartet (violin, cello, French horn, keyboards) under Or Matias’s musical direction. A close-harmony coda, accompanied only by a hurdy-gurdy drone, specifically recalls the a cappella wonders of “Octet” and the hushed beauty of the title song of “Natasha, Pierre & the Great Comet of 1812.” But intermittent gorgeousness is not, for me, a sufficient substitute for substance. What is “Three Houses” trying to say, or have us experience, about living through the pandemic — beyond the usefulness of eight quantities of liquor?
I gained a whole new understanding of “The Three Little Piggies” at the end of Dave Malloy’s latest sing-through musical theater piece, which has a lively score and a gifted cast, but largely falls short of its effort — seemingly inspired by Sondheim’s approach in “Into The Woods” — to say something significant about life during the pandemic. Still, the ending is a revelation.
2024 | Off-Broadway |
Signature Theatre Off-Broadway Production Off-Broadway |
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